CAL 
PHOTOGRAPHY 


TRADE MARK 


Price 50 


AMERICAN PHOTOGRAPHIC PUB¬ 
LISHING COMPANY* BOSTON.MASS 


10 




































Enlarging Cyko 


Y OU don’t look at an enlargement made upon this 
paper. You look into it. There’s a world of differ¬ 
ence in the distinction. 

^ There’s a wonderful quality to Enlarging Cyko. Its 
pure blacks and clear brilliant highlights, with soft 
modeling of all the brilliant half tones in between, 
give a stereoscopic depth and roundness unmatched 
in any other paper furnished for projections. 

<1 Also, Enlarging Cyko fits a wider range of nega¬ 
tives, is easier to work, and is much superior for sepia- 
toning when this is desired. 

<J Regular Cyko prices. Order a dozen Enlarging 
Cyko Plat, 8x io, Double Weight, from your dealer 
today. It’s a big dollar’s worth. 


NOTE — For average negatives , just say 
Enlarging Cyko. For especially thin or 
weak negatives specify Contrast Enlarg¬ 
ing Cyko. 


ANSCO COMPANY 

BINGHAMTON .. .. NEW YORK 










PRACTICAL PHOTOGRAPHY, NO. 10 


Practical 

Printing Processes 

Edited by 

FRANK R: FRAPRIE, S. M„ F. R. P. S. 

Editor of American Photography 


EIGHTEENTH THOUSAND 
Revised and Enlarged 


) 

) » 

> 5 > 

» © ) 



AMERICAN PHOTOGRAPHIC 
PUBLISHING COMPANY 

BOSTON. MASSACHUSETTS 
1923 

















T'R3 2, ° 


COPYRIGHT, 1914, 1923, BY 
AMERICAN PHOTOGRAPHIC PUBLISHING CO. 

Trade Mark Registered 

Manufactured in the United State * of America 



©C1A692082 

PRINTED BY HOOPER PRINTING CO., BOSTON, MASS., U. S. A. 

M 22 1923 


VI. o j 


Practical Printing Processes 


The Importance of the Print. — The words photo¬ 
graph and print are synonymous. The print is the 
aim and end of photography. By it your success or 
failure is judged, for the negative is simply an inter¬ 
mediate step, and a poor negative may be made to 
yield a good print by careful handling. The ama¬ 
teur who studies the different sorts of printing paper 
and learns their possibilities is in a position to make 
far better pictures than his careless brother who 
uses one printing medium for all his negatives. For 
instance, a marine may show to the best advantage 
on blueprint paper; a snow scene, on smooth plat¬ 
inum in clean bluish-black; and an autumn landscape 
on redeveloped gaslight or bromide paper in a beauti¬ 
ful warm sepia color. Again, a faulty negative, inca¬ 
pable of making a good printing-out paper proof, 
may produce a very satisfactory effect on one of 
the three grades of contrast in which gaslight papers 
are generally furnished. If only one sort of paper is 
used, the worker is obliged to attempt to make all 
his negatives to fit the qualities of that paper; but 
as negatives vary, in spite of all our care, some will 
fail to print well on the one grade, and others must 
be resorted to. 


3 



4 


PRINTING PROCESSES 


Degrees of Contrast. — Some papers tend to re¬ 
duce the contrasts of the negative, others to increase 
them. A hard negative succeeds well with one class 
and fails with the other, and vice versa. There is, 
however, a happy medium. A plate fully exposed 
and fully developed can be well printed on almost any 
paper if the time of printing is correct. Beginners 
generally prefer a print which is brilliant rather than 
harmonious; but as their taste becomes educated, 
they avoid heavy, black shadows and staring high¬ 
lights, and learn to print on softer papers so as to 
represent nature more as she looks to the eye. 

Preparing the Negative. — The first step in print¬ 
ing is to go over the negatives and correct any blem¬ 
ishes. Films and plates alike may need clean¬ 
ing, for the wash-water generally leaves a film of 
dirt on them. Wiping the back of the film with a 
soft, dry cloth is sufficient. Glass plates should be 
cleaned and polished with Bon Ami or some other 
non-scratching scouring soap, or a mixture of alco¬ 
hol and ammonia. An ounce each of 95 per cent 
alcohol and strong ammonia water with two ounces 
of water is an efficient cleanser. It quickly removes 
traces of emulsion, which sometimes gets on the back 
of plates during the coating process. 

Spotting. — The cleaned negative should now be 
laid face upward on a sheet of ground glass and ex¬ 
amined by transmitted light. A cheap retouching 
frame is convenient, but one can readily be impro¬ 
vised from a mirror and a sheet of ground glass sup¬ 
ported by books at an angle of 45 degrees. Take a 
fine red sable spotting brush and some spotting colors 
and fill any transparent spots by touching the almost 


GENERAL INSTRUCTIONS 


5 


dry brush to them. A little practice soon teaches the 
knack; and, with care, the spot may be filled in so 
that little spotting of the print will be needed. Larger 
defects can be filled in with repeated touches of the 
brush. Highlights which are too dense can be rubbed 
down with a bit of chamois leather moistened with al¬ 
cohol. Retouching is fully treated in No. 9 of this 
series, “Practical Retouching.” The more time you 
spend in smoothing out defects, the easier it becomes 
to make good prints. 

Cleanliness. — Cleanliness throughout is what 
makes the difference between good and bad photo¬ 
graphic work. Trays, graduates, etc., should be 
rinsed both before and after use. At frequent in¬ 
tervals, remove traces of chemicals, stain, etc., by 
letting acid bichromate solution stand in them for 
a short time and then washing thoroughly. An 
ounce of potassium bichromate dissolved in a pint 
of water which has been acidified with an ounce of 
strong sulphuric acid should be kept in a safe place 
ready for use. It keeps indefinitely and can be used 
over and over. Stamped steel trays enameled white 
or white porcelain trays are easiest to keep clean, as 
they show dirt at once. 

Care of the Hands. — The hands should be washed 
with soap and warm water before beginning work, 
taking pains to rinse off all traces of soap. Do not 
use soap in the darkroom, however, as it may get 
into the utensils and cause trouble. If the skin is 
liable to irritation from chemicals, rub a little lano- 
line thoroughly into the fingers and wipe off surface 
grease before beginning work. 

Light for Printing. — Daylight is too uncertain in 


6 


PRINTING PROCESSES 


its strength to be quite practical for printing. Sud¬ 
den changes in intensity may take place without 
being noticed by the eye until the loss of a print 
shows that the light has altered. It is far better 
always to use artificial light. The form of the light 
is, of course, governed by circumstances. An oil 
lamp is good, but slow; and many workers are so 
situated that they must depend on oil. The open 
gas flame is out of date, the Welsbach burner being 
far more powerful and in all cases to be preferred. 
Mazda bulbs are excellent when electric current is 
available. The electric arc is sometimes used, but 
there are many objections to it, not the least of which 
is its flicker. Magnesium ribbon is often used with 
developing-out papers. 

A light of the utmost power is the Cooper Hewitt. 
This peculiar green-blue light is photographically most 
valuable, as its rays affect sensitive materials very 
strongly and it is therefore extremely fast. For 
instance, an unscreened tube prints in second as 
compared with 5 to 15 seconds for incandescent bulbs. 
The best way to use a tube is to enclose it in a print¬ 
ing box with ground glass and shutter. This light is 
suitable also for printing-out papers of all kinds, 
including Platinotype, Satista, P. O. P., and others. 

Printing-out Papers. — Papers which give a visible 
image by direct printing are called printing-out papers 
(P. O. P.) because the picture prints out to complete 
visibility in all details. They are used in direct sun¬ 
light or diffused daylight, as only the strongest 
artificial lights (arc and Cooper Hewitt) are powerful 
enough to affect them in a reasonable time. The 
popular papers of this class are blueprint, gelatine 


BLUEPRINTS 


7 


P. O. P., gelatine and collodion self-toning P. O. P., 
and homemade salted paper. Platinum andSatista 
are semi-printing out, as they give a visible but faint 
image which has to be developed to reach full strength. 
It is convenient to consider all of these together be¬ 
fore taking up the developing-out papers (D. O. P.) 
grouped under the names of gaslight and bromide 
papers. 

Blueprint. — Salts of iron, sensitive to light, are 
spread on plain paper to give blue prints on a white 
ground. On exposure under a negative, the origi¬ 
nally yellowish-green surface becomes darkened, 
until finally the deepest shadows present a bronzed 
appearance. When this stage has been reached, the 
middle tones and some of the details in the lights are 
visible, and the print is finished. It is now placed 
in clean running water, in which it instantly turns a 
bright blue; but the washing must be continued for 
twenty minutes to half an hour to insure permanence. 
The slightest trace of soap is fatal to a blueprint, 
so the process should not be carried out in a wash¬ 
bowl. Washing, drying, and mounting complete the 
process. Greater contrasts are obtained by develop¬ 


ing in: 

Potassium ferricyanide.154 grains 

Water. 16 ounces 


The paper is sold in tin cans or can be cheaply 
prepared by the user with any good quality of plain 
paper. The keeping quality is not great. Stale 
paper yields only dull, foggy prints. Moisture is 
the greatest enemy of the process. It is important 
to keep unused paper in the can, removing a sheet at a 
time when needed. 




8 


PRINTING PROCESSES 


Negatives. — The type of negative best suited for 
blueprinting is one which has clear glass shadows 
without much detail, and dense highlights — in 
other words, the typical snapshot which has been 
fully developed. Thin, weak negatives will not make 
satisfactory prints by this process. 

Printing. — Underprinted paper washes out weak 
and light. Overtimed prints are too dark. The best 
guide to correct printing is not the bronzing of the 
shadows, which may take place early, but the appear¬ 
ance of the first traces of detail in the highlights. 

Making Blue Paper. — A suitable formula for 
making one’s own paper is: 


A—Ferric-ammonium citrate (green scales).110 grains 

Water.1 ounce 

B—Potassium ferricyanide.40 grains 

Water. 1 ounce 


Mix equal parts and keep in a yellow glass bottle in 
the dark. Filter just before use. Apply to the paper 
(pinned to a drawing board) with a tuft of cotton, 
brushing in both directions until evenly moistened. 
Dry the paper in the dark and use as soon as bone dry. 
Dry as rapidly as possible by gentle heat. Brighter 
blue tones are obtainable by treating the prints with a 
l ]/2 per cent solution of alum, a 3 per cent solution of 
oxalic acid, or a 1 per cent bath of hydrochloric acid. 
The same formula can be used for sensitizing cloth. 
Proceed as follows: 

Blue Cloth. — Select a good quality of linen, mus¬ 
lin, mercerized cotton, or other suitable white fabric 
and wash thoroughly to free it from size. When dry, 
immerse for one minute in the sensitizer, wring out, 
and hang up to dry. 






BLUEPRINTS 


9 


Toning. — The color of blueprints can be altered, 
but the results are uncertain and not very perma¬ 
nent. Blue-gray and purple tones are obtained by 
treating the print in water containing 10 minims of 
ammonia water to the pint. As soon as the desired 
color is reached, bathe in a bath of alum, 120 grains; 
water, 16 ounces. Finally wash in running water 
for half an hour. Brown to black tones are secured 
by bleaching the print in stronger ammonia solution, 
about 1 ounce to the pint of water, and treating with 
a saturated solution of gallic acid, in which the 
image reappears. Wash well and dry between blotters. 

Transparencies. — Blue transparencies can be made 
by using the same sensitizer on a bleached negative. 
The silver is dissolved out of the gelatine by treating 
the waste negative with a strong Farmer’s reducer: 


Potassium ferricyanide.120 grains 

Hypo. 120 grains 

Water to make. 4 ounces 


After the image has wholly vanished, wash the cleared 
plate for at least two hours in running water and 
immerse for several minutes in the sensitizer. When 
dry, the plate is ready for printing under the negative 
in daylight. Light-struck plates can be cleared in 
plain hypo and used for this process instead of being 
wasted off. 

Owing to their cheapness and the attractive color, 
blueprints are very popular in spite of their lack of 
gradation. Good negatives are better printed on a 
medium which will bring out more differences be¬ 
tween the middle tones as one sees them in the neg¬ 
ative. 

Self-toning P O. P. — Second only to blueprint in 





10 


PRINTING PROCESSES 


simplicity of working is self-toning paper. It comes 
in two varieties, gelatine and collodion. Both con¬ 
tain the necessary gold to produce a fine brown or 
sepia tone when the prints are fixed in a weak hypo 
bath, with or without a pinch of baking soda. When 
properly fixed and washed, these papers are per¬ 
manent. 

Self-toning papers are sold in a large variety of 
surfaces both single and double weight, and post¬ 
cards. The lighter stock sometimes causes trouble 
by curling, particularly with collodion papers. 

Printing. — The paper is printed with the coated 
side in contact with the dull side of the negative in 
direct sunlight or diffused daylight until it is one or two 
shades darker than required in the finished print. A 
negative fully exposed and fully developed is most 
suitable. The negative must be perfectly clean and 
free from dust. The paper must be dusted, but if it 
is taken from the package by its edges and shaken, 
with extreme care not to touch its coated side, dusting 
with a brush is better omitted. To secure sharp con¬ 
tact, it is well to use a felt pad or a sheet of rubber 
cloth backed with pieces of newspaper to supplement 
the springs of the printing frame. In humid weather, 
dry the felt pad in the oven before using. 

If the print must show the full size of the nega¬ 
tive, use a frame at least one size larger and provide 
it with a stout sheet of clear glass. Center the nega¬ 
tive on the larger sheet and thus avoid the shading 
of the edges which may take place in a small frame. 
Put the frame out to print where no shadow from 
branches, etc., can fall on it at any time during the 
printing. There is a superstition that thin negatives 


SELF-TONING PAPER 


11 


should be printed in the shade but facing the sky; 
but this is not at all necessary if printing is not over¬ 
done. Another old idea was to print under ground 
glass or several thicknesses of the special onion-skin 
tissue paper sold by photographic supply dealers. 
The truth seems to be that these precautions simply 
help the operator to get his prints off in time when 
handling a large number of frames at once. If, how¬ 
ever, greater contrast is required, it can be secured by 
fitting the frame with a sheet of green glass. Signal 
green or cathedral green are two of the suitable colors. 
In the same way, a harsh negative can be made to 
yield a softer print by using blue glass. 

Examining. — As the prints gain in strength, 
open half of the frame in dull daylight well away 
from the window and examine the print. It takes 
only a few minutes in good light to get a “pretty” 
picture from an average negative. This is called 
the proof stage, as it is then that professional pho¬ 
tographers take off their proofs (and, incidentally, 
put their fingers on them to cause marks and prevent 
dishonest customers from trying to tone and keep their 
proofs); but it is not dark enough for toning. Fasten 
the back and continue printing until the whole image 
looks decidedly dark. As the prints come off, they 
should be stored face to face in a spare box until all are 
ready for toning. They may even be kept overnight, 
but most workers prefer to tone at once. 

Flattening. — Collodion papers may need to be 
flattened by immersing them one by one face down 
in a smooth-bottomed tray containing a very little 
water. As soon as all are in, drain off the water and 
let the tray stand in a slanting position for ten 


12 


PRINTING PROCESSES 


minutes before toning. Another method is to place 
the print face up in a clean, dry dish and pour hot 
water on it. Some makes of paper require several 
changes of clear water or a salt bath to remove free 
silver; but most self-toning papers can be put directly 


into a bath composed as follows: 

Water to make.20 ounces 

Hypo.2 ounces 

Temperature for use, 60 to 70 degrees. A pinch 


of baking soda added to this bath will prevent sul¬ 
phur toning. 

Fixing. — The fixer should be used in a large tray, 
for instance, a 5 x 8 tray for 4 x 5 prints. Use enough 
hypo to fill the tray to a depth of half an inch. Take 
a print and immerse it face down, turning it over 
immediately to insure even action. Now immerse 
the second print and bring it into contact with the 
first, back to back. Continue in this way until all 
the prints are in, and then handle them in pairs by 
their edges, keeping them constantly on the move 
during the whole time of toning. If they are al¬ 
lowed to mat together, stains and streaks are sure 
to result, either at the time or later. To insure 
permanency, it is best to allow only half a dozen 
4x5 prints or their equivalent to each ounce of 
dry hypo. The time of toning is generally about 
ten minutes at the temperatures mentioned above. 

Dodging. — The control of the color or tone with 
this kind of paper is very limited. As a rule, thin, 
quick-printing negatives do not give so rich a sepia 
as slightly more contrasty ones. The user, notwith¬ 
standing, is cautioned not to conceive an exagger¬ 
ated idea of the contrast needed in the negative. 




SELF-TONING PAPER 


13 


Overdeveloped negatives may need to be printed 
with tissue pasted over the frame and worked on 
with powdered Prussian blue to hold back the 
shadows, or turpentine to make the paper translucent 
. over the dense highlights. Shadows can also be 
held back by working on the glass of the negative 
with a negative-marking pencil or flowing the plate 
with ground-glass substitute, plain or tinted, and 
scraping it away from the portion one wishes to 
print more deeply. An expert professional printer 
by taking advantage of all these and other dodges, 
can turn out splendid prints from very faulty nega¬ 
tives. The amateur is reminded that such means of 
improving his results are most easily carried out 
with printing-out papers, as their effect can be 
watched. Local shading during printing can easily 
be effected by tearing a piece of cardboard roughly 
to the desired shape and tacking it to the frame. 
Raise the free edge about an inch from the negative 
to avoid printing a sharp line and put the frame out 
in the shade. After a few trials, one becomes expert 
in this sort of work and can modify results in an 
astonishing manner without running the risk of 
spoiling the negative by attempting intensification 
or reduction. 

Blue Tones. — Colder tones, tending to blue, can 
be had on self-toning paper by printing more deeply 
and giving the prints a preliminary bath of common 
salt, say a heaping teaspoonful to a pint of water. 
Strong negatives are needed. Self-toning paper, 
however, does not require quite so brilliant or “plucky” 
a negative as the old variety of P. 0. P. 

Washing. — Washing of the prints should be per- 


14 


PRINTING PROCESSES 


formed by transferring them one by one from tray 
to tray of clear water, allowing twelve five-minute 
changes. If the prints are washed in running water, 
make sure that it does not strike the prints forcibly, 
or it will blister them. Temperature is very im¬ 
portant, even in washing, and all manipulations 
should, if possible, take place between 60 and 70 
degrees at all seasons. 

Diying. — The washed prints should be dried face 
up on clean blotters. Collodion prints can be dried 
between blotters or even over a source of heat, but 
gelatine papers cannot stand such treatment. 

Ferrotyping. — Glossy prints are given a very high 
polish by the use of squeegee or ferrotype plates. 
It is essential to dry the prints and rewet before 
squeegeeing, or they may stick to the plates. The 
plates are coated with black japan or enamel, and 
should be well washed and then rubbed over with a 
solution of beeswax or paraffin wax in benzol or tur¬ 
pentine. A few drops are sprinkled on, rubbed all 
around with a soft cloth free from lint, and the final 
polish given with a silk cloth or chamois leather. 
A good formula is: 

Beeswax.20 grains 

Turpentine.1 ounce 

When the plates are ready, immerse them in water 
and bring the prints into contact with them under 
water. Remove together, and squeegee the print 
into contact, using a flat rubber squeegee from the 
center toward the corners. Do not use too much 
pressure. Set the plates in a moderately warm place 
to dry. Do not attempt to strip off the prints until 
bone dry, or they will surely stick and tear. The tip 




SQUEEGEEING AND MOUNTING 


15 


of a penknife blade inserted under one corner will 
cause the print to spring off when it is quite 
dry. The chief cause of prints sticking is failure to 
dry them and rewet before putting them on the plates. 

Matt Prints. — Prints can be given a matt surface 
by squeegeeing to ground glass, of course without 
any wax. As, however, matt and even rough and 
linen-surfaced papers are now furnished in self-toning 
brands, such a course is seldom necessary. 

Mounting. — Squeegeed prints must be mounted 
dry, using dry mounting tissue, a gelatine or rubber 
mount ant, or hinge tape. 

Wet mounting is carried on in the usual way. 
Stack all the wet prints on a sheet of glass. Roll with 
a squeegee to remove surface moisture. Brush the top 
one over with a good paste with a rubberset bristle 
brush or with the fingers. Lift the print, turn it over, 
and lower it into place on the mount, holding it in a 
U shape so that the middle comes into contact first, 
then lowering the ends so that air will be expelled. 
Success in making the print stick will be easy if the 
paste has been worked into the print until it becomes 
tacky and makes the brush drag, and the edges and 
comers are well pasted. When the print is correctly 
placed on the mount, lay a piece of clean lint less 
photographic blotter on it and roll with a good roller 
squeegee. 

Curling. — To prevent curling of the mount, paste 
a piece of paper the same size as the print on the back 
of the mount. Another way is to dry the mounted 
prints under pressure. 

Prints can be mounted on cheesecloth by pasting 
them while on the ferrotype plates and rubbing the 


16 


PRINTING PROCESSES 


cloth into contact, leaving both until dry. In this 
case, they should not be trimmed until after mounting. 
Single-weight paper can also be backed with a sheet 
of the same weight prepared for the purpose under 
the name of backing paper. The coating of the sec¬ 
ond sheet counteracts the curl of the first. Double¬ 
weight paper, however, will stay flat enough without 
such precautions. 

P. O. P. — The older form of printing-out paper 
contained no gold, but had to be washed, toned in an 
alkaline gold bath, and fixed separately. A modi¬ 
fication of the process, a “combined” toning and 
fixing bath, may be mentioned only to condemn it. 
Prints put through such a treatment almost invari¬ 
ably fade in a short time. 

Stock Solutions. — Precise directions are given with 
each make of P. 0. P., yet all will work satisfactorily 
if the following plan is adopted, as toning can take 
place even in artificial light. The solutions required 
are a 10 per cent solution of ammonium sulphocyanide, 
a 10 per cent solution of common salt, a 10 per cent 
solution of hypo, and a gold bath containing 1 grain 
of gold chloride in each dram of water. The principle 
is to use a definite weight of gold for a given number of 
square inches of paper and to leave the prints in the 
bath until all of the gold has been used up. 

Toning Bath. — The toning bath is made up as 
follows: Measure out 10 ounces of water and add 
2 drams of sulphocyanide solution and 1 ounce of 
salt solution. Mix, and add 1 dram of the solution 
of gold chloride. Label the bottle “Gold Toning 
Bath.” Each ounce of this bath contains 1-10 grain 
of gold, which is sufficient for two SJ4 x 4 J4 prints. 


PRINTING-OUT PAPER 


17 


For warm brown tones, half to three quarters of an 
ounce is enough; for blue tones, a little more may be 
needed. Other sizes may be readily handled by 
taking more or less bath for each print. 

Toning. —Now suppose that you have ten 3y£ x 4k* 
prints to tone. Measure out five ounces of toning 
bath and put the prints directly into it without pre¬ 
vious washing, handling them in pairs back to back. 
Continue to handle them in the bath until no further 
change of color can be seen. The final stage is when 
the surface looks cold and slaty-blue. 

Finishing. —Washing, fixing, and finishing are 
the same as already described for self-toning paper. 
Eight to ten minutes is ample time for fixing, and 
the prints should not be left lying in the hypo any 
longer or they will bleach. 

The advantage of this method is that one can 
always duplicate a desired tone if notes are kept of 
the exact amount of toning bath used for a print 
of a certain size to produce a given color. 

Instantaneous Toning. — Another certain method 
of securing uniform tones is the so-called instan¬ 
taneous toning bath. Four stock solutions are needed: 


A—Ammonium sulphocyanide .1 ounce 

Water to make.10 ounces 

B—Gold chloride.15 grains 

Water to make.7 £ ounces 

C—Sodium phosphate.1 ounce 

Water to make.10 ounces 

D—Saturated solution of borax. 

Mix, for toning ten 4x5 prints: 

A.,.1 dram 

Water.3 drams 

B.4 drams 

C.1 dram 

D.2 drams 













18 


PRINTING PROCESSES 


The prints, which should be only one shade darker 
than desired, are put directly into the toning bath 
without previous washing. On entering the bath, 
the prints turn red, but within half a minute they 
assume a beautiful dark purple tone, almost black in 
the deepest shadows. No matter how much longer 
they are left in, they will not change again. As soon 
as the prints have assumed a uniform color, they 
may be fixed, or, if preferred, transferred to a tray of 
clear water until the entire batch is ready for fixing. 

Brush Toning. — This method of toning, like the 
preceding, uses up every particle of gold in the bath. 
It is therefore highly important to measure out the 
right quantity for the number of prints to be toned. 
For instance,to tone four 4 x 5 or two 5x7 prints, 
measure out 15 minims of sulphocyanide, 120 minims 
of water, 60 minims of gold, and so on. To use such 
a small quantity to the best advantage, it is a good 
plan to lay the print face up on a clean sheet of glass 
and brush the toner over it with a tuft of cotton or a 
rubberset camel’s hair brush, letting the surplus drip 
into a graduate. No matter how streaky the prints 
look at first, if the brushing is continued they will tone 
evenly and stop. Apparently they quickly absorb 
all the gold they are capable of taking up and thereby 
reach a very high degree of permanency. Prints 
toned in this manner have been exposed, half covered, 
to direct sunlight for three months without showing 
any dividing line. 

Keeping Quality. — The stock solutions keep in¬ 
definitely, particularly if made up with distilled water 
and stored in yellow glass bottles in a cool, dark place. 
The mixed bath will not keep more than an hour. 


TONING METHODS 


19 


Economy. — Users of this method can easily cal¬ 
culate the exact quantity of each stock solution re¬ 
quired for toning a print of a given size, check the 
figures by trial, and draw up a table showing how 
much to take for any number of prints. No gold is 
wasted, so it is extremely economical. It is simpler 
than other methods, as it requires no judgment. Still, 
if the P. O. P. worker prefers, he can follow the plan 
of using a bath of the strength advised by the maker 
of the paper and toning until the print has a par¬ 
ticular color when looked through toward a window. 
The objection to this way is that prints are seldom 
uniform, as the strength of the light has a great deal 
to do with one’s estimate of color. The instantane¬ 
ous method can be worked at night. For instance, 
one can print in the morning before going to business, 
store the prints in a light-tight box, and finish them 
in the evening. 

Many readers of “American Photography” have 
written to the Editor that they have tried the in¬ 
stantaneous toner and found it to work perfectly. 
Beginners are earnestly advised to do their toning 
by one or the other of the two methods just given 
until they become expert. Then, if they desire to 
secure other tones, they can experiment with dif¬ 
ferent toning formulas, but we hope that no one 
will be unwise enough to use the combined toning 
and fixing bath and expect the prints to last. Re¬ 
member that P. 0. P. is permanent only if fixed as 
directed and then washed until the last trace of 
hypo is removed. 

Black Tones on P. O. P. — Many workers, while 
preferring the black tones obtained with developing- 


20 


PRINTING PROCESSES 


out papers, wish to use the printing-out process. 
Deep brownish-blacks and pure blacks may be ob¬ 
tained on the latter papers by toning in the following 
platinum bath, which will not keep: 


Meta-phenylendiamin.7 grains 

Potassium chloroplatinite. 7 grains 

Water.16 ounces 


As soon as the desired tone in obtained the prints 
should be washed and fixed. Bluish-black tones are 
obtained by first treating the prints for a short time 
in one of the above gold baths, washing well and then 
toning with platinum; the color obtained is dependent 
on the depth to which the gold toning is carried. The 
more gold deposited, that is the bluer the print after 
leaving the gold bath, the bluer the final result will be. 

When a platinum bath is used, the prints should be 
immersed for 5 minutes, without previous washing, 
in a 5 per cent solution of common salt, then rinsed and 
toned. After toning with platinum it is advisable 
to immerse the prints in the following for 5 minutes: 


Salt.H ounces 

Sodium carbonte, dry.| ounces 

Water.16 ounces 


Then rinse and fix. 

Homemade Silver Papers. — The amateur can 
sensitize pure paper of good quality, either rough or 
smooth, by “salting” it and afterward sensitizing 
it by floating on a solution of silver nitrate. Any 
of the drawing papers sold by dealers in artists’ 
materials is satisfactory. A simple salting bath is: 


Ammonium chloride. 100 grains 

Gelatine. 10 grains 

Water to make. 10 ounces 











HOME-MADE SILVER PAPER 


21 


Swell the gelatine in a little cold water and dissolve 
it by warming gently in a water bath. Then add 
the chloride and make up to the required volume. 
The solution must be filtered into a chemically clean 
porcelain tray and the paper floated on it for three 
minutes, then dried in a warm, dark room while 
suspended by a clip from a line. The knack of float¬ 
ing the paper so as to avoid air bubbles is easily 
acquired if one holds the sheet in a U shape and 
lowers the loop until it touches, afterward lowering 
first one and then the other limb of the U. 

Sensitizing. — The dried salted paper keeps in¬ 
definitely. When some is required for use, it is 
floated for a minute or two (depending on the rough¬ 
ness of the paper) on a bath containing 45 grains of 
chemically pure silver nitrate to each ounce of dis¬ 
tilled water. Drying should be rapid, say overnight 
in a warm, dark room. 

Warmer Tones. — The above salting bath tends to 
give bluish tones. Sepia to brown tones are more 
readily obtained with the following: 

Arrowroot.154 grains 

Water.12 ounces 

Rub the arrowroot into a thin cream with a little of 
the water. Bring the rest of the water to the boil and 
add the arrowroot cream in a fine stream, stirring all 
the time. Mix in a fairly large graduate, as efferves¬ 
cence will take place, the following: 


Ammonium chloride.107 grains 

Sodium carbonate, dry.88 grains 

Citric acid.54 grains 

Water.4 ounces 


As soon as the effervescence has ceased, add this to 








22 


PRINTING PROCESSES 


the hot arrowroot solution and strain the mixture 
through fine muslin while hot. Immerse the paper 
in the warm solution for 2 minutes and hang up to 
dry. When nearly dry immerse again for the same 
time and hang up by the opposite corners to those pre¬ 
viously used. Or the paper may be pinned to a flat 
board and the above solution freely applied with a 
brush, the paper allowed to dry, and the application 
repeated. 

This paper may be sensitized by floating on the 
silver bath given below or preferably by painting with 
a solution of: 

Silver nitrate.240 grains 

Water.4 ounces 

If to this solution enough strong ammonia water be 
added to redissolve the brown precipitate first formed, 
and it be then painted on the paper, a very rapid 
printing paper will be obtained, which with deep 
printing tends to give deep brownish-black tones. 
But the silvered paper will not keep more than 12 
hours. 

Good sepia to black tones may be obtained by using 
the following: 


Bleached shellac.1 ounce 

Borax.^ ounce 

Water.12 ounces 


Break the lac up small and add to the boiling solu¬ 
tion of borax and continue boiling till the shellac has 
all dissolved, or not less than 2 hours, then add: 

Gelatine.f ounce 

Water.8 ounces 

Stir well and if necessary heat till the gelatine has 
dissolved, and make up the total volume of the solu- 









PLATINUM PAPER 


23 


tion to 16 oz. Immerse the paper in the warm solu¬ 
tion for 2 minutes and hang up to dry. Then again 
immerse in the solution, which should be warmed up 
for the same time, and hang up by the opposite cor¬ 
ners. When dry float for 3 minutes on the following: 
For black tones: 


Sodium phosphate.307 grains 

Borax.154 grains 

Sodium carbonate, dry.77 grains 

Salt. 40 grains 

Potassium bichromate.0.08 grain 

Water .16 ounces 

For sepia tones: 

Sodium phosphate.154 grains 

Borax.307 grains 

Salt.40 grains 

Potassium bichromate.1 grain 

Water.16 ounces 


Or the paper may be immersed for 1 minute instead of 
floating. The paper when dry may be sensitized by 
floating on the silver solution given above. 

Printing. — The paper is printed in the same man¬ 
ner as commercial P. O. P., only somewhat deeper, 
as the image tends to “sink in” on account of there 
being no waterproof coating under the sensitive layer. 

Toning. — Toning for warm sepias is in a gold bath. 
Blacker tones can be obtained in a platinum bath, as 
follows: 


Potassium chloroplatinite.41 grains 

Water.10 ounces 

Nitric acid.2 to 3 drops 


Platinum Paper. — The high cost of platinum 
naturally prevents a popular use of this printing 
medium, yet it is one of the most beautiful of all 
processes and the image is more permanent than 
















24 


PRINTING PROCESSES 


the paper on which it is supported. The color is a 
clear, beautiful blue-black to warm black. The 
paper has no gloss, hence the effect is just as artistic 
as a drawing in pencil or charcoal. Although the 
worker can make his own platinum paper, it costs 
him two or three times as much as it does to buy it 
ready for use. 

Platinum paper is sold in tin cans containing a 
lump of preservative, which is necessary to prevent 
the paper from absorbing moisture and spoiling. 
When fresh, the paper is bright yellow on the sen¬ 
sitive side. It is printed in daylight, with every 
precaution to exclude moisture, preferably by means 
of a sheet of rubber cloth behind the paper. 

Printing. — As the paper is extremely rapid, pro¬ 
gress must be noted at frequent intervals. The paper 
must be examined in very weak daylight. The 
image appears gray on a yellow ground. After a 
few trials, it is easy to judge correct printing. The 
first traces of detail should just begin to show faintly 
under the denser portions of the negative, which is 
preferably rather bright though not extremely con¬ 
trasty. An amount of clearness of the shadows 
which would be too much on the clear-glass order 
for most papers is not objectionable for platinum 
printing. A negative with foggy or veiled shadows 
is not at all suitable. Full exposure and full develop¬ 
ment are the requisites. From such a negative, 
platinum will yield a print the delicate gradations 
of which cannot be surpassed by any printing process 
whatsoever. 

Developing and Clearing. — The finished print is 
put directly into a saturated solution of potassium 


SATISTA PAPER 


25 


oxalate, in which the image at once flashes up full 
strength, though it does no harm to leave the print in 
for a longer time. From the developer, it is trans¬ 
ferred to an acid bath, 1 ounce of chemically pure 
hydrochloric acid to 60 ounces of water. In this it 
remains five minutes, going afterward into two fresh 
acid baths for the same period. A short wash in run¬ 
ning water completes the processs. 

Sepia tones may be obtained on ordinary black 
tone paper by using the following developer: 

Potassium oxalate.4 ounces 

Zinc oxalate.800 to 1000 grains 

Water.16 ounces 

Heat to 69° to 83° F. and immerse the prints as 
usual. 

Sepia Paper. — Platinum paper is also made in 
sepia, generally developed in a hot bath, though 
cold-bath sepia papers are obtainable. Of late years, 
the demand has been for warm tones, so the charac¬ 
teristic blue-black is harder to obtain. Papers of 
harder surface are also furnished under the name 
of Japine. 

Satista. — The inventor of platinotype, Mr. Willis, 
has lately brought out a paper of the platinum class 
containing this metal and silver. The price is much 
less than that of the regular platinum paper and 
the results can hardly be distinguished from it except 
by chemical tests. The tones obtainable are black, 
warm black, and sepia. The paper stock, like platino¬ 
type, is free from emulsion, so that it gives the same 
refined, artistic effects. 

Rapidity of Printing. — Satista is extremely rapid, 
about five times as fast as P. 0. P., and in bright 





26 


PRINTING PROCESSES 


light one can attend to only two to four frames at 
a time. The image appears gray on a yellow ground. 
Printing is done when shadows and middle tones 
have made their appearance. Overprinting gives 
dark, muddy prints. The paper is not very sensitive 
to damp, so it can be stored after printing if it is 
not convenient to finish the operations at once. 

Developing. — Development takes place in the 
following bath: 


Hot water.32 ounces 

Potassium oxalate.8 ounces 

Oxalic acid.100 grains 


To be used at not less than 60 degrees Fahrenheit. 
The image flashes up to full strength, but the print 
should not be taken out until 30 seconds have elapsed. 
Then it is plunged at once into a clearing bath: 


Warm water.80 ounces 

Potassium binoxalate (salts of sorrel).1^ ounces 


Two ten-minute changes of this are needed, the 
prints being moved around several times in each 
bath. The second bath should remain colorless; 
if it yellows, use a fresh portion. 

Rinsing. — After the clearing the prints should be 
washed in running water for not less than eight nor 
more than ten minutes. The correct time is ex¬ 
tremely important, as too brief a washing will not 
remove the clearing salt and too prolonged action 
may produce stain. 

Fixing. — The silver remaining in the paper has 
now to be removed by fixing in a 10 per cent plain 
hypo for about 15 minutes. It is important to keep 
the prints moving to insure even action. 







PALLADIOTYPE 


27 


Washing. — The final washing should not take 
less than 40 minutes in running water, again seeing 
that the prints are kept well separated. 

As Satista has no gelatine or collodion emulsion, 
it dries flat and stays flat. Its high permanency, 
low price, and high artistic quality should make it 
one of the most popular of all processes among those 
who have time for daylight printing. 

Palladiotype. — This may be considered as a 
sister process to platinotype, in which the image is 
formed in palladium instead of platinum. Like 
platinum, palladium is one of the most permanent 
of all metals. Fine warm black and sepia tones are 
obtainable, the warmth of tone being dependent to 
some extent on the temperature of the developer. 

Like platinotype the paper is sensitive to damp, and 
must, therefore, be kept in the tins in which it is sent 
out and the joint sealed with a wide rubber band. 
Exposure should be carried on until the image is dis¬ 
tinctly visible in all its details. The developer for 
warm black tones is: 


Sodium citrate.10 ounces 

Citrate acid. 1 ounce 

Water.....43 ounces 


This may be repeatedly used. The print should be 
immersed face up in the solution and the dish rocked 
well. Development should be continued until the 
surface of the paper has apparently lost all its sensitive 
coating. It is as well not to hurry this operation. 
The temperature of the solution may vary between 
45° and 70° F. for black tones; but slight increase 
of warmth is obtained with increase of temperature. 
For pure sepia tones, however, the special Sepia 





28 


PRINTING PROCESSES 


Vellum surface must be used. This gives prints of a 
rich sepia and very pleasing texture. The particular 
developer for sepia tones is: 


Sodium citrate 
Citric acid . .. 
Water. 


. 6 ounces 
150 grains 
120 ounces 


The temperature may vary from 70° to 100° F. and 
the warmer it is the warmer the sepia obtained; but 
in no case must it exceed 100° F. 

As soon as the necessary depth of tone is reached, 
the print should be immersed in the clearing baths. 
A stock solution should be prepared for these as 
follows: 

Sodium citrate.10 ounces 

Citric acid.4 ounces 

Water.43 ounces 

For use dilute 1 part of the above with 7 parts of 
water. The prints should be immersed in the dilute 
clearing bath for ten minutes, then transferred to a 
second bath of like strength for fifteen minutes and 
again to a third bath for twenty minutes. It is im¬ 
possible to hurry this clearing operation. If the proper 
time is not allowed and the dishes are not occasionally 
rocked the prints will afterwards spoil. 

If greater brilliancy or contrast is required in the 
prints, whether black or sepia, a little potassium bi¬ 
chromate should be added to the developer. It is 
advisable to keep a stock solution of the bichromate, 
10 grains in an ounce of water. To each ounce of 
developer should be added from 4 to 6 drops, or minims 
of this solution. When a lot of prints are developed 
in the same solution the bichromate will become ex- 








DEVELOPING-OUT PAPER 


29 


hausted, and then 1 or 2 minims of the stock solution 
must be added to every ounce of the developer. 

After the clearing baths the prints must be washed 
for 10 or 15 minutes in running water, or in several 
changes of 10 minutes each. The prints should be 
dried between blotters, changed three or four times. 

Developing-out Papers. — In marked contrast to 
the papers already spoken of is the class of developing 
out papers (D. O. P.). It includes “gaslight” and 
bromide papers. The line dividing these kinds is not 
very definite, as some papers may be called either a 
fast gaslight or a slow bromide variety. The chief 
distinction is in speed. Bromide papers are of almost 
as great speed as the very slowest plates. White 
light of any kind spoils them instantly; but orange 
light is perfectly safe. Any source of artificial light 
can be used in the darkroom if orange fabric or post- 
office paper is used and the least trace of white light is 
excluded. The light should be tested for safety in 
the same way one would test a ruby light for plates, 
that is, by exposing a piece of the dry paper half 
covered with black paper for about two minutes in 
the place where developing is usually done. Two 
minutes’ development should not cause any darkening 
of the exposed portion, if the developer contains 
enough bromide to prevent fog, so if it darkens, use 
another thickness of orange fabric or postoffice paper 
over the light. Other points which distinguish a true 
bromide paper are its wide range of tones from a 
pure but not heavy black to a clear white — in other 
words, its great range of gradations, the relatively 
weak developer required, and the slowness of develop¬ 
ment. A properly timed image appears in 45 seconds 


30 


PRINTING PROCESSES 


to 1 minute and is not completely developed until 
two minutes have elapsed. 

Characteristics of Gaslight Papers. — Gaslight 
papers, though some of them must be handled in 
orange light to prevent fogging or lead-colored whites, 
develop much more rapidly than bromide paper, and 
most of them have a much shorter range of gradation, 
with a more solid black in the deep shadows. They 
come in several grades of contrast, making them suit¬ 
able for all types of negatives. Contrast papers are 
suited to thin negatives — too thin to print on any¬ 
thing else; normal papers, to good negatives of aver¬ 
age contrast; soft papers, to the more brilliant, con¬ 
trasty negatives which yield the best prints on P. O. P. 
By using the different grades, the worker can make his 
prints as brilliant or as harmonious as he chooses. 

Most gaslight papers can be printed by any 
strong artificial light and developed at a distance of 
eight or ten feet from the same light. The best plan, 
however, is to place a screen between the light and 
the work table and handle the paper in its shadow 
except when it is in the frame and being exposed 
close to the light. 

Choosing a Paper. — Any of the advertised makes 
of gaslight paper will be found reliable if handled 
exactly as the maker directs. Most are made in 
three grades, but a few in two only. Each grade is 
generally offered in a number of surfaces, glossy, 
semi-matt or velvet, matt, rough, etc. The most 
generally useful surface for small prints is the velvet, 
which has a slight but not unpleasant sheen, and 
brings out almost as much detail as the glossy or 
enameled surface. Procure the contrast or hard 


PRINTING 


31 


grade for your thin negatives which have not suffi¬ 
cient contrast between the highlights and the shad¬ 
ows (underexposed and underdeveloped); the normal 
for good average negatives, and the soft for hard, 
contrasty (overdeveloped) negatives. 

Opening the Paper. — Daylight or strong arti¬ 
ficial light must not be allowed to fall on the surface 
of the paper until it is being exposed behind the 
negative. Open the paper in the shadow of your 
screen (unless orange light is used). It will be found 
wrapped in black paper. The coating has a tendency 
to pull the paper into a curve, with the emulsion on the 
concave side; but in case of doubt you can tell at 
once by biting a corner between your teeth, which 
will stick slightly to the gelatine coating. This is 
the only infallible test. Avoid touching the surface 
with the fingers. 

Loading. — The negative is put into the frame 
dull side upward and the emulsion side of the paper 
put down upon it. The negative and paper may be 
dusted before placing in the frame to prevent white 
spots. Fasten the back of the frame and expose. 

Exposing. — The time of exposure must be found 
by experiment. Hold the frame directly opposite 
the light at a distance equal to the diagonal of the 
negative, that is, about 7 inches for a 4 x 5, 10 inches 
for a 5 x 7, etc. If the frame is brought too close to 
the light, the middle of the picture will receive more 
exposure than the edges and come out too dark as 
compared with the corners. It is necessary always 
to print at exactly the same distance from the light. 
A handy wrinkle is to tie a string to the light fix¬ 
ture and tie a knot in it at the right distance. Then 


32 


PRINTING PROCESSES 


the string can be pulled taut and the frame brought 
up to the knot. Other plans will suggest themselves 
to the reader to suit his own arrangement of apparatus. 
The importance of uniform distance is evident when 
one remembers that an exposure made at double the 
distance takes not twice, but four times as long; the 
law is, exposure varies as the square of the distance. 

Guide to Exposure. — The best guide to correct 
exposure is found in the direction sheet which comes 
with the paper. The maker states the correct time 
of development for his formula at ordinary temper¬ 
atures. Thus, a certain make may need 15 seconds, 
another 45 seconds; but, whatever the time, a proper 
exposure will reach full strength in that time and 
pause without growing darker. If, now, the print 
is too hard or too soft to suit, the only way to get a 
better result is to choose a different grade of paper 
for the next trial. In any case, read every word of 
the direction sheet several times before beginning work. 
A sheet of paper cut into strips and used for finding 
the best exposure is the truest economy. 

Developing. — The exposed paper is taken from 
the frame and immersed face upward in the devel¬ 
oper. Have the solution about half an inch deep in 
the tray, hold the paper slanting, plunge one edge 
into the developer and push the sheet under, at 
once turning it over and back to break up any air 
bubbles — but if the procedure is properly carried 
out there will not be any. The image soon appears 
on the surface and rapidly darkens until it is strong 
enough. An underexposed sheet will not reach full 
strength in the right time and had better be thrown 
away, as if left in too long it will stain yellow all 


DEVELOPING AND FIXING 


33 


over or begin to turn gray in the whites. The lati¬ 
tude, or permissible variation of exposure, is very 
small with gaslight papers. Overtimed paper 
develops quickly and blackens too much. If the 
developer contains too much bromide the print will 
have a sickly greenish or brownish tone, no matter 
how quickly one snatches it out. Success, therefore, 
depends on getting the exposure exactly right. 

Rinsing. — The moment the print has become 
dark enough, it must be taken from the developer 
and rinsed either in plain water or weak acid. In 
the latter case, if the room is lighted with a safe 
orange illumination, the print may remain in the 
acid until a number have accumulated, as the devel¬ 
oper is “killed” by the acid. If the light is not orange, 
remove the print at once to the acid fixing bath. 
A short rinse, just enough to remove most of the 
alkaline developer, is all that is needed. 

Fixing. — D. O. P. should invariably be fixed in 
fresh, strong acid hypo. The acid fixers sold for 
paper are reliable, or the user can mix his own from 
the formula given on the direction sheet. Good, 
permanent prints can be made by using a fresh fixing 
bath for each lot of prints. The print should be sub¬ 
merged at once, and completely. A glass funnel, stem 
up, is handy; or a stick can be used. Avoid putting 
your fingers into the hypo, and, in any case, rinse them 
in clean water and dry them on a clean towel before 
touching another sheet of paper. The slightest trace 
of hypo spattered or carried into the developer will 
produce spots and stains. Every time you put an¬ 
other print into the hypo, move the others around with 
the stick. Don’t let them float up to the surface. After 


34 


PRINTING PROCESSES 


the first print has been in for ten minutes, turn all face 
down and continue putting prints in face up for 
another ten minutes. Then remove the first lot 
to a tray of clear water. Too long fixing may lead 
to a brownish tint in the middle tones of the print 
unless the bath is kept cold with ice. Some makers 
say that ten minutes is long enough for single-weight 
and twenty minutes for double-weight paper; but 
the time given will be found satisfactory. 

Working in orange light and using the acid short 
stop (one ounce of acetic acid to the quart of water, 
frequently renewed, if many prints are making), one 
can leave the fixing to be done at the end of the 
printing. This is a good plan, as one can keep the 
prints moving and separated thoroughly for ten to 
twenty minutes and is then sure that they will be 
completely and evenly fixed. 

Washing. — Complete removal of hypo is essen¬ 
tial if the prints are to remain unaltered for a rea¬ 
sonable time. A picture on D. O. P. should be as 
permanent as a negative. A troublesome but effec¬ 
tive way is to give twelve five-minute changes in 
two trays. Any method of washing, to be effective, 
must keep the prints well separated and not let 
them lie at the bottom of the dish in a pool of hypo 
solution which has washed out and settled. There 
are several very good automatic washers on the 
market. The washer must be large enough to allow 
the prints to revolve freely all the time. One de¬ 
signed for 4 x 5 prints will not work well with a 4 x 6 
paper, for example. If the family washbowl is the 
only utensil available for use with running water, 
take out the prints every ten minutes, drain the bowl 


WASHING AND DRYING 


35 


and refill; also keep handling them over all the time. 
A piece of stout rubber tubing attached to the faucet, 
stoppered at the other end, and pierced with holes, 
can often be adjusted so as to keep the prints moving 
and separated. The same idea can be applied to a 
tray or a tank. 

Hypo Test. — A test for elimination of hypo is as 
follows: 


Potassium permanganate.2 grains 

Potassium carbonate.20 grains 

Distilled water to.40 ounces 


Take a little of this solution in a clean graduate and 
hold the prints so that they will drip into it. If 
the pink color is discharged and replaced by a greenish- 
yellow or a brown coloration, hypo is present, and the 
washing should be continued until the drippings no 
longer cause any alteration in the permanganate 
solution. 

Cleaning. — When the prints come from the wash¬ 
ing water, dirt will invariably be found on them. 
Stack them face up on a sheet of glass and clean 
them one by one with a tuft of wet absorbent cotton. 
You will be surprised to see how much dirt there is 
on them. 

Drying. — Well hardened prints can be dried be¬ 
tween blotters under pressure in a hot place. A 
roll is best. Procure a large pasteboard mailing 
tube and wind good lintless photographic blotting 
paper around it, laying the prints face up. This of 
course makes them curl inward; but, on being re¬ 
moved from the roll, they will lie flat when they are 
thoroughly dry. 

A simpler method of drying is to lay the cleaned 





36 


PRINTING PROCESSES 

prints? face down on cheesecloth stretchers. They 
will curl somewhat when dry, and should then be 
evenly moistened on the backs and placed between 
blotters under pressure until quite dry. 

Straightening. — Curled prints can be straight¬ 
ened when dry by laying them on any hard, smooth 
surface and drawing them gently under a straight 
edge. If they are given a marked curl in the wrong 
direction, they straighten out nicely on being put 
under pressure for a short time. 

Finishing. — The mounting of D. O. P. is carried 
out as with gelatine P. O. P. The glossy kind can be 
squeegeed in the same manner on ferrotype plates. 

Defects, such as white spots, are easily touched 
out with a fine sable brush and a set of spotting colors. 

Redevelopment. — The image of a black-and- 
white gaslight print consists of pure metallic silver 
in gelatine. The picture can be turned into a beauti¬ 
ful sepia by converting the silver to silver sulphide. 
The process consists of bleaching and redeveloping. 

Bleaching. — The bleaching formula is: 


Potassium ferricyanide.100 grains 

Potassium bromide .33 grains 

Water to .10 ounces 


Instead of the ammonium bromide in the above 
bath 22 grains of table salt or 98 grains of potassium 
iodide may be used. If these strengths are adhered 
to there is no loss of intensity of the prints. A colder 
sepia is obtained if the following bath be used: 


Potassium ferricyanide . 46 grains 

Ammonia (0,900).115 minims 

Water.16 ounces 


The well-washed black print is put into this bath 








SEPIA TONING 


37 


and left until all traces of black have disappeared 
from the deepest shadows. 

Redeveloping. — The print is then rinsed and put 
into the sulphide bath, in which the image redevelops 


to a rich sepia: 

Hot water...15 ounces 

Sodium sulphide (not sulphite).3 ounces 

Boil ten minutes, filter, and add: 

Water to make.25 ounces 


To redevelop, add 1 ounce of this stock solution to 
from 12 to 20 ounces of water. Finally wash well. 

Redevelopment should never be done in a room 
where sensitive materials are kept, as the sulphide 
fumes will spoil plates and papers very quickly. 

Hypo-Alum Toning. — A method of sepia toning 
which gives purplish-brown tones is to treat the 
black prints in a bath containing precipitated sul¬ 
phur. Used cold, it tones in several hours; used 
hot, in a few minutes. A suitable formula is: 

Hypo.5 ounces j 

Powdered alum.1 ounce ;! 

Boiling water.70 ounces 

This bath is milky and must not be filtered. It 
should be “ripened” by putting in a few spoiled 
prints or adding a few grains of silver nitrate and 
common salt. The older it gets, the better it works, 
if kept up to the original bulk by adding w^ater and 
fresh bath from time to time. 

Control of Contrast. — Both of these toning pro¬ 
cesses reduce the contrast of the prints, so they are 
best fitted to pictures of considerable vigor. A soft 
black-and-white picture seldom looks well redeveloped. 








38 


PRINTING PROCESSES 


Control of Color. — The color of the original print 
controls the shade of the resulting sepia. For sul¬ 
phide toning, use as little bromide as possible — just 
enough to hold the highlights clear and give a blue- 
black deposit. For hypo-alum, use more bromide, 
as a warm-black original gives the finest tone. 

There are, naturally, many modifications of these 
formulas issued by different makers to suit their 
own papers; but the reader will find them fully 
covered in the manuals which they furnish on re¬ 
quest to users of their goods. Space will not permit 
treating them here. 

Bromide Printing. •— Although bromide paper is 
used mostly for enlarging it can be used for contact 
printing in much the same manner as gaslight paper. 
It needs rather a stronger negative. In fact, a good 
print can often be turned out on bromide from a 
negative too hard for any grade of gaslight paper. 

Exposing. — The exposure for bromide paper is 
very short. One or two matches burned about three 
feet from the frame is often sufficient illumination 
for an average negative. 

Developing. — The developer is used only about 
half as strong as for gaslight paper. The image 
appears in about a minute and is not completely de¬ 
veloped in the lights until another minute has passed. 
As the paper tends to softness, brilliant results can 
be obtained only by giving short exposure and using 
the normal developer. Soft, gray prints, with a lovely 
pearly quality, are secured by overexposing about 
four times and developing with double or triple the 
usual amount of water and plenty of bromide. In 
other respects, it is handled just like gaslight paper. 


DEVELOPERS FOR D. O. P. 


39 


Metol-Hydrochinon Developer. — Makers’ formu¬ 
las are always safe, for some papers need a very strong 
bath and others would be spoiled unless they were 
treated in a weaker solution. A good average formula 
has been given by E. J. Wall: 


Metol...25 grains 

Sodium sulphite, anhydrous.350 grains 

Sodium carbonate, dry granular.260 grains 

Hydrochinon.36 grains 

Water.16 ounces 


This can be used for negatives by diluting with an 
equal quantity of water. For papers, take 1 part 
of solution, 3 parts of water, and add 10 minims of 
10 per cent potassium bromide solution for each 8 
ounces of diluted developer. 

Bromide Solution. — A 10 per cent solution of 
bromide is: 


Potassium bromide.48 grains 

Water to.1 ounce 


Each minim (drop) contains 1-10 grain. A saturat¬ 
ed (65 per cent) solution is: 


Potassium bromide.312 grains 

Water to.1 ounce 


Each minim contains 0.65 grain. 

Amidol for Gaslight Paper. — The writer has 
tried many formulas and prefers the following where 
rich, blue-black prints are desired. Overexposure 
gives disagreeable greenish tones. The developer 
must be prepared at the time of use. 


Water to make.10 ounces 

Sodium sulphite, anhydrous.250 grains 

Amidol...50 grains 

Potassium bromide.2 grains 


Use full strength for hard-working papers. Dilute 















40 


PRINTING PROCESSES 


with an equal volume of water for soft-working 
papers. 

Amidol for Bromide Papers. — Strong, rich prints 
on bromide papers can be obtained with the fol¬ 
lowing : 

Water to make.20 ounces 

Sodium sulphite, anhydrous.325 grains 

Amidol.50 grains 

Potassium bromide.10 grains 

The same formula, with more water, yields pure 
black to grey prints. 

Acid Hypo. — One of the best acid hypo baths is 
the simplest of all. Either potassium metabisul¬ 
phite or sodium bisulphite can be used as the acid 
clearer and hardener: 

Water.... (warm).64 ounces 

Hypo.16 ounces 

Dissolve and add: 

Water (cool)... 16 ounces 

Potassium metabisulphite.1 to 2 ounces 


or 

Water. 

Sodium bisulphite, granular 
(or Lumiere's liquid) . 


16 ounces 


1 to 1£ ounces 
.2 to 3 ounces 


If excessive hardening action is required in hot 
weather, Yi ounce of powdered potassium alum can 
be dissolved in the hardener before adding it to the 
hypo. Chrome alum can be used if preferred. 

Carbon Printing. — Carbon is an old process which 
is now very seldom used by amateurs. Its chief 
characteristics are permanence (the image is a deposit 
of pigment embedded in gelatine), and simplicity 
(water is the chief developing agent). It is an inter- 













CARBON PRINTING 


41 


esting process, as the tissues may be obtained in a 
large variety of colors and may be transferred to 
papers of almost any surface, finish and texture. 
Glass, wood, leather and other materials may also be 
used. 

The carbon tissue is sensitized with potassium 
bichromate and when exposed to light is rendered 
insoluble in those parts the light is allowed to reach. 
After exposure, the application of water washes away 
the soluble portions, leaving a positive image. For 
sensitizing, a solution of potassium bichromate is 
used and if alcohol is added the tissue will dry rapidly 
and be ready for printing in about half an hour. 
Contrast in the prints can be modified to some extent 
by varying the strength of the bichromate bath; more 
sensitizer will give flatter results and will produce 
tissue that will give good prints from negatives that 
have too much contrast. On the other hand a bath 
weak in bichromate will give more contrast and make 
it possible to get good prints from thin, weak negatives. 

A standard formula for sensitizing is: 


Potassium bichromate.1 ounce 

Water.20 to 30 ounces 

Ammonia (0.880).60 minims 


Different workers recommend slightly different 
formulas; some use ammonium bichromate instead of 
potassium. If to the above bath some citric acid be 
added, the tissue will keep longer in good condition. 
A proved formula is: 


Potassium bichromate.i ounce 

Citric acid.70 grains 

Water.25 ounces 

Ammonia.i ounce 









42 


PRINTING PROCESSES 


There must be sufficient ammonia to convert the 
orange solution into a yellow, straw-colored one, 
which should smell faintly of ammonia. 

The tissue is sensitized by immersing it in a bath of 
this solution for three or four minutes. Any air- 
bells that may form on the sheet, either on the back 
or on the front, should be carefully and quickly re¬ 
moved. 

A convenient way to dry the tissue after sensitizing 
is to squeegee it on a well-cleaned ferrotype plate. 
The Autotype Company of London used to make a 
tissue with a red paper backing that was non-actinic, 
so that the tissue could be dried on a ferrotype plate 
in full daylight. If the ferrotype plates are not avail¬ 
able, the sensitized tissue may be hung up to dry in a 
dark room. It should dry in from four to eight hours 
and is then ready for printing. 

The addition of alcohol to the sensitizing solution 
is a great time saver, for tissue sensitized with a spirit 
sensitizer will dry in 10 or 15 minutes and is then 
ready for printing. The spirit sensitizer may con¬ 
veniently be applied with a Blanchard brush. 

The spirit sensitizer can be made by the following 
formula: 


Ammonium bichromate.150 grains 

Distilled water.50 ounces 

Ammonia .q. s. 


Enough ammonia should be added to make the 
solution smell distinctly. This will keep in the dark 
indefinitely and for use 1 part should be mixed with 2 
parts of methyl alcohol or acetone, just before use, 
and the mixture painted freely on the tissue. As the 
alcoholic sensitizer will not keep, not more than is 





CARBON PRINTING 


43 


required for immediate use should be mixed. This 
solution can be applied either on the paper or the gela¬ 
tine; the latter gives rather softer prints. This 
method of sensitizing has not only the great advantage 
of drying rapidly but also is extremely useful in very 
hot weather, when the tissue may begin to dissolve in 
the ordinary aqueous bath. 

In printing with carbon tissue the negative must 
be furnished with what is called a “safe edge,” a nar¬ 
row mask of opaque paper all around it, so that the 
edge of the tissue is protected from light and is left 
in a soluble condition. 

Damp weather should be avoided for printing, 
though carbon is not nearly as sensitive to dampness 
as platinum. 

The exposure of the carbon tissue in the printing 
frame must be determined largely by experiment and 
experience. Tissues vary very much in speed accord¬ 
ing to the color of the pigment and according to the 
composition of the sensitizing solution. As a rough 
suggestion, it will be found that black tissue, sensitized 
in the bath given above, will print in about the same 
time as a P. O. P. proof. Brown tissue will require 
rather longer time and red chalk still longer. 

An actinometer is an instrument for measuring 
exposure. It is necessary to use one in carbon printing 
because there is no visible image. This can be pur¬ 
chased at almost any large photographic house or it is 
a simple matter to make one by covering a piece of 
glass with successive thicknesses of tissue paper each 
of which is numbered consecutively. The highest 
number that is visible on a piece of P. O. P. exposed 
under the actinometer at the same time as the carbon 


44 


PRINTING PROCESSES 


print should be noted as the “actinometer number” 
of that particular negative. This must be found by 
trial and error. 

After printing, the tissue is soaked for about one 

minute in cold water and at the same time a piece of 

transfer paper (paper coated with gelatine) is placed 

_ « 

in the same tray or in another one. The tissue when 
first placed in water will curl up and then will gradually 
flatten out. As soon as it has flattened out and is 
beginning to curl the other way, it should be brought 
face to face with the now limp transfer paper, taken 
out of the water and squeegeed into absolute contact. 
A flat, scraper squeegee is best for this and the tissue 
should be covered with a piece of rubber cloth while 
being squeegeed to prevent tearing. The gelatine 
coated side of the transfer paper can easily be deter¬ 
mined before the paper is wetted and a pencil mark 
on the back will prevent mistakes. The closely 
adhering tissue and transfer paper should be placed 
between blotters under pressure for about half an 
hour or longer, according to the thickness of the paper. 
A good test as to whether they are ready for develop¬ 
ment is to notice whether the back of the transfer 
paper is stained with bichromate. If so, it is ready for 
development and should be placed in a tray contain¬ 
ing warm water (90 to 100 degrees). After a time 
the gelatine and pigment around the edges will begin 
to dissolve and will ooze out. The temperature may 
then be increased to 100 to 110 degrees, and after 
being in this warm water for a minute or two the 
print will be ready for stripping. Take hold of a 
corner of the tissue backing and — holding the print 
down under the water with the other hand — gently 


CARBRO 


45 


strip off the backing. A thick, messy looking mass 
of color will be left on the transfer paper and by gently 
rocking the tray some of this will be washed away 
and the details of the picture will begin to appear. 
Then lift the print carefully from the tray and lay 
it face up on a sloping glass and pour water over it 
from a cup or a graduate. In a few moments the 
superfluous color will be washed away and the pic¬ 
ture will be fully developed. It should be developed 
a trifle lighter than is wanted as it will darken a little 
in drying. Development can be stopped by placing 
the print in cold water, after which it should be placed 
in a clearing bath made up of a 5% solution of pow¬ 
dered alum in water, to remove the yellow stain of the 
bichromate. This is followed by half an hour's 
washing in gently running water and the print is 
then ready to hang up to dry. 

This is the single transfer process and the print — 
unless means are taken to prevent it — will be re¬ 
versed as to right and left. For many subjects this 
will not matter at all. If a film negative is used, it 
may be reversed in printing, and the print will come 
out right. If this cannot be done and the picture is 
required to be the right way around, it must be re¬ 
transferred by what is known as the double transfer 
process. In this process a temporary support is used 
on which to develop the print, which is then trans¬ 
ferred on to another support in the correct position. 
The temporary support usually is a tough, smooth 
paper, coated with shellac and waxed to prevent the 
gelatine from adhering permanently to it. 

Carbro. — A modification of carbon, known as 
ozobrome, by which a number of carbon prints can be 


46 


PRINTING PROCESSES 


obtained from one bromide print or enlargement was 
introduced by Thomas Manly in 1907; but the process 
fell into disuse during the war and has lately been 
revived under the name of Carbro. In this process 
chemical action takes the place of light action, so 
that it can be worked at times when daylight is not 
available, and large carbon prints can be made from 
small originals without the necessity for making an 
enlarged negative. The print or enlargement can be 
used over again for several prints. A bromide print, 
a piece of carbon tissue and the following solutions 
are required: 


I. Potassium bichromate.1 ounce 

Potassium ferricyanide.1 ounce 

Potassium bromide.1 ounce 

Water.20 ounces 

II. Glacial acetic acid.1 ounce 

Hydrochloric acid, c.p.1 ounce 

Formaldehyde, 40% .22 ounces 


Dilute No. 1 with 3 times the volume of water. Soak 
the bromide print in water. Place a sheet of carbon 
tissue in the dilute I solution for 3 minutes, drain for 
15 seconds and then immerse in No. II, diluted with 
32 times its volume of water, for from 20 to 30 seconds. 
Then place the wet tissue on the bromide print and 
squeegee into contact and leave for 15 minutes; the 
tissue and the print should be placed between grease¬ 
proof paper during this time to prevent unequal 
drying of the papers. The two are then stripped apart 
and the bromide print placed in a dish of clean water 
to wash, as after a thorough washing it can be re¬ 
developed and used again at least ten times and in 
some cases fifteen. The stripped tissue is treated in 
exactly the same way as the exposed tissue in ordinary 









GUM-BICHROMATE 


47 


carbon printing. The water used for development 
should be a few degrees cooler than in the carbon pro¬ 
cess, to begin with at any rate; only if the develop¬ 
ment of the print lags should warmer water be used. 
Variation of results can be secured by varying the 
length of immersion in the acid No. II bath, as shorter 
immersion gives greater contrasts, and longer gives 
flatter results. Longer contact between the bromide 
print and the tissue will give darker prints. The 
time of immersion in the acid bath varies with the color 
of the tissue pigment, the darker colors tending to give 
flatter prints, with the same time of immersion, than 
the lighter colors. Almost any surface print may be 
used, but there is greater difficulty with the rough 
papers in obtaining close contact. 

The bromide print, after being separated from the 
tissue, should be washed for 15 or 20 minutes and may 
then be redeveloped with any ordinary developer, 
amidol, metol-hydrochinon, etc., and washed for half 
an hour. It can then be used again for making another 
Carbro print. 

Gum-Bichromate Printing. — This is a very simple 
process theoretically. Paper coated with a mixture of 
gum and bichromate of potassium, to which some pig¬ 
ment has been added, is exposed to light under a nega¬ 
tive and is then washed in water, so that the soluble 
bichromate solution is removed, leaving a positive 
image consisting of insoluble bichromated gum, the 
color depending on the pigment that was used. It is 
a process that allows of almost unlimited control. 
We can choose the paper we want and almost any kind 
of paper is suitable, some being more desirable than 
others, we can make the pictures in any color we like, 


48 


PRINTING PROCESSES 


and in the manipulation of the print there are tre¬ 
mendous possibilities for personal control. The pro¬ 
cess is an old one, having been known as far back as 
1855. Its modern revival began about 1895, when M. 
Robert Demachy exhibited some gum prints in Lon¬ 
don. These were referred to at that time as “bi-gum” 
pictures. 

The paper may be coated either with a brush or 
with an air-brush. The paper stock should be strong 
enough to stand the handling and wetting it will re¬ 
ceive. Many gum workers use drawing papers such 
as Whatman, Lalanne or Michallet. Walter Zimmer¬ 
man considered the “Angora” papers and card made 
by the Whiting Paper Co. the best. The coating 
formula recommended by Zimmerman is as follows: 
Take the pigment from tube, or powder, enough to 
heap on the point of a penknife blade, more or less, 
according to the amount of work to be done. Then 
pour in, of the gum solution (two parts gum arabic, 
by weight, to three of water) a little more than the 
bulk of the pigment used. Work them together with 
the pestle and mortar and if the gum takes up in sus¬ 
pension all the color, you are ready for the next step; 
if not, add a few drops of gum solution. With all the 
pigment held in suspension by the gum solution, pour 
in from four to six times as much of a saturated bi¬ 
chromate of potash solution as you have used of the 
gum solution. Mix thoroughly. If an air-brush is to 
be used, this mixture must be filtered before using. 
In coating with a brush, take enough of the mixture 
on the brush to coat the whole sheet of paper without 
having to take up more color. Do not pause at all in 
the coating of each sheet. The coating mixture is 


GUM-BICHROMATE 


49 


sensitive to light when it is dry. Exposure calls for 
experience. Some workers measure it with Solio 
paper (somewhat overprinted), some use an actino- 
meter as in carbon printing. Using the Zimmerman 
formula and light colors, the image is visible after 
printing and can be judged by inspection. After 
printing, soaking in water will remove the still soluble 
parts of the coating. Zimmerman recommends stack¬ 
ing the prints in a pile between wet blotters. Some 
workers simply let the print lie face down in water, 
others like to splash the print with an atomizer or 
with a piece of rubber hose attached to a faucet, some 
wipe off color with brushes and cotton and in other 
ways exercise personal control. 

If a single coating and printing does not give a rich 
enough print, the dry print may be coated again and 
as many additional printings may be given as are 
considered necessary. It is necessary in this case to 
adopt some means of getting accurate register. Either 
the same color or a different color may be used for the 
subsequent printings. 

In order to obtain a strong print with only one 
coating, the gum print may be made on the top of an 
ordinary platinum print or on a bromide or gaslight 
print. This method was much favored by photo- 
pictorialists some years ago and it is an effective and 
simple means of obtaining rich looking prints in color. 
Instead of getting depth in the shadows by means of 
several successive gum coatings and printings, one 
gum-pigment coating is applied over a platinum print 
and with a single exposure a colored image can be 
obtained that has all the depth and richness of a 
multiple gum. The foundation image strengthens 


50 


PRINTING PROCESSES 


the half tones and shadows and the single coating of 
gum and pigment gives the color and richness. This 
method of working can be applied to bromide or 
“gaslight” papers as well as platinum. 

$ (Some helpful instructions on carbon printing, gum, 
multiple gum and gum-bromide printing will be found 
in “Pictorial Landscape Photography,” by the Photo 
Pictorialists of Buffalo, published by American Photo¬ 
graphic Publishing Co.) 

Kallitype is an iron-silver process, in some re¬ 
spects similar to blue printing in that iron salts are 
used. It is an old process originally suggested by R. 
Hunt in 1844, and first introduced commercially by an 
English experimenter, W. W. J. Nicol, in 1889. A few 
years later it was described in “Photo Miniature” No. 
10, “The Blue Print.” The theory of kallitype, briefly, 
is this: paper coated with a mixture of ferric oxalate 
and silver nitrate gives, on exposure to light under a 
negative, an image in ferrous oxalate and silver oxide. 
Flooding this with a suitable solvent of ferrous oxalate 
precipitates an image in metallic silver. A standard 
sensitizing solution is: 


Distilled water.1 ounce 

Ferric oxalate.75 grains 

Silver nitrate.30 grains 


The ferric oxalate is first shaken up in warm water, a 
few grains of oxalic acid being added to facilitate solu¬ 
tion. It should then be filtered, the silver added, and 
allowed to “ripen” in the dark. 

Developer, for black tones: 

Borax.2 ounces 

Rochelle salts.1$ ounces 

Water.20 ounces 








KALLITYPE 


51 


For purple tones: 


Borax.^ ounce 

Rochelle salts.2 ounces 

Water.20 ounces 

For sepia tones: 

Rochelle salts.1 ounce 

Water.20 ounces 

Fixing solution: 

Water.20 ounces 

Hypo.1 ounce 

Stronger ammonia water (0.880).120 minims 


In 1903 Henry Hall published, in “Photo Miniature” 
No. 47, the results of his experiments and discoveries 
regarding kallitype, and since then the formulae and 
methods of working have been modified and improved. 
There are now several slightly different formulae, all 
good ones, and several different methods of working. 
In all these methods there is sometimes an element of 
uncertainty. As a rule, all goes well, but the purity 
of the chemicals is an important point. The ferric 
oxalate, especially, is inclined to vary. Printing is a 
difficult part of the kallitype process. The ability 
to judge the exposure can be acquired only by prac¬ 
tice. Direct sunlight should be used for printing, 
which should be stopped as soon as the outlines of the 
shadows of the subject are visible. 

Oil and Bromoil Printing. — Two printing processes 
that excel all others in the possibilities they offer for 
personal control are oil and bromoil printing. These 
are somewhat similar and may well be considered 
together. Oil printing is a process for making con¬ 
tact prints, while bromoil is practically the same thing 
applied to bromide enlargements. These processes 










52 


PRINTING PROCESSES 


are based on the action of bichromate of potash on gela¬ 
tine on exposure to light and its action on gelatine in 
the presence of silver. They differ from gum-bichro¬ 
mate and carbon in that they enable the artist to 
build up his picture step by step by applying pigment 
to a surface that is practically blank to begin with, 
whereas in gum and carbon the artist has to remove 
superfluous pigment in order to get his picture. In 
applying the pigment the artist can either reproduce 
the tones of the negative or can vary them to a very 
great extent. He can see just what he is doing all the 
time and can alter and amend as the work progresses, 
adding here, removing there, and if he does not like it 
when it is done, he can clean it all off and start over 
again. These two processes are used very extensively 
by pictorial workers both here and abroad and in the 
hands of an artist whose appreciation of tones is to be 
depended upon, they offer unlimited opportunities for 
personal control. They also offer plenty of opportuni¬ 
ties to make mistakes, and should therefore be avoided 
by the inexperienced. 

In addition to becoming insoluble on exposure to 
light, a film of bichromated gelatine also acquires the 
power of retaining a greasy ink when applied with a 
brush or a roller, the power varying according to the 
amount of light action. This is the basis of collotype 
printing, but the idea of applying it to the production 
of photographic prints did not, apparently, occur to 
anyone until 1904, when G. H. Rawlins, in an article 
in “The Amateur Photographer,” suggested the pro¬ 
cess now known as oil printing. 

For oil printing the paper is sized by coating with 
gelatine (such papers may be purchased ready sized, 


OIL PRINTING 


53 


or the photographer may prepare the surface himself). 
It is then sensitized either in a plain bichromate solu¬ 
tion or (preferably) in a quick drying spirit sensitizer. 

M. Demachy’s formula for the sensitizer is as fol¬ 
lows : A 6 per cent solution of ammonium bichromate 
is made by dissolving ounces of the salt in 25 
ounces of water, and the sensitizing mixture is made 
by mixing one part of this solution with 2 parts of 90° 
alcohol. The sensitizer is best applied with a flat 
brush, the paper being pinned to a board. It takes 
about 15 minutes to dry and is then ready for printing. 
As there is no pigment coating to hide it, the image pro¬ 
duced by printing is quite visible, and the exposure can 
be judged by its appearance. The paper is rather more 
sensitive than P. O. P. and must be handled carefully. 
Immediately after printing,the print should be washed, 
both to remove the unaltered bichromate solution 
and to cause the swollen condition of the gelatine 
necessary for inking. The print should then be allow¬ 
ed to soak in water, not too cold, 65 to 70 degrees, for 
half an hour, and is then ready for pigmenting. Good 
brushes and suitable inks are important in pigmenting. 
The print must be kept moist during pigmenting and 
many workers lay it on a pad of wet blotters while 
working. Use the brush very lightly. By varying 
the methods of using the brush, the ink may be applied 
freely or may be removed wholly or partly. “Hopping’* 
is the touch that removes pigment. The use of hard 
or soft inks will enable the worker to correct errors 
in exposure to a certain extent. When pigmenting 
is completed, leave the print to dry. It should be 
pinned down on a board in a place that is as free from 
dust as possible. Drying may take several days. 


54 


PRINTING PROCESSES 


Bromoil is a method of producing an oil print from a 
bromide print and it is therefore generally used for 
enlargements. Most bromoil experts agree that amidol 
is the best developer to use for developing the print to 
be used for making a bromoil and it must be fixed in a 
plain hypo bath, not in one thatcontains acid and alum. 
The proportion of eight ounces of hypo to forty of 
water has been found to be about right. The print 
must be thoroughly fixed and properly washed so that 
every trace of hypo is removed. 

If the pigmenting is to be done at this stage, there 
is no need to dry the fixed and washed print. It may 
be bleached and made ready for pigmenting without 
previous drying or, if desired, it may be dried and pig¬ 
menting may be done at any time later. 

There are many formulae for the bleaching and tan¬ 
ning solution. It can be bought commercially from 
dealers who handle bromoil supplies. One formula 
that is very strongly recommended by expert bromoil 
workers is the one worked out by Dr. Emil Mayer, as 
follows: Prepare the following stock solutions: 


A Water .4 ounces 

Potassium bromide.1 ounce 

B Water.4 ounces 

Copper sulphate.1 ounce 


C A saturated solution of potassium bichromate in water. 

Use chemically pure salts and distilled water, if pos¬ 
sible. To make the bleaching solution, take 3 parts of 
A, 3 parts of B and one part of C. To each five ounces 
of this mixture add one drop of concentrated hydro¬ 
chloric acid. Dilute with three parts of water for use. 
This solution keeps well and can be used repeatedly. 
It is important to use only the correct amount of 
hydrochloric acid as given above. 






BROMIDE 


55 


If the bromide print has been dried, it should be 
allowed to soak in clean cold water for at least half an 
hour before bleaching. The temperature of the 
bleaching solution should be between 65 and 85 de¬ 
grees. After bleaching, which should not be hurried 
(the solution should be given ample time to do its 
work), the print should be washed for 10 minutes in 
running water. Some workers advise using an acid 
bath after washing, made by adding slowly yi ounce 
of concentrated sulphuric acid (with constant stirring) 
to 40 ounces of water. This serves to remove all re¬ 
maining traces of the silver image and tends to soften 
an unusually hard gelatine coating. 

Some bromoil workers prefer to dry the prints be¬ 
fore pigmenting, some insist that it is necessary. On 
the other hand there are some who prefer to proceed 
with the inking of the print right after the bleaching, 
fixing and washing. 

The pigmenting of the bromoil print is exactly the 
same as in oil printing. The same kind of brushes 
and pigments are used and the technique of the opera¬ 
tion is just the same. 

Special brushes sold by dealers carrying bromoil 
supplies should be used. Sometimes they are sold 
under the names of the workers who first recommended 
them, such as the Mortimer and Demachy brushes, 
sometimes they are described by their shape, as stag’s 
foot brushes. They are used also in china painting, 
and are then called stipplers. Two or three good 
brushes are all that are necessary. A large one, No. 
14 or No. 12, and one or two smaller ones, say a No. 8 
and a No. 4, will be plenty to begin with. An ink of 
good quality must be used, such as Sinclair’s “Encre 


> 


> > 


56 


PRINTING PROCESSES 


Machine,” a hard, warm black pigment that may be 
softened if necessary by the addition of a very little 
Roberson’s Medium or megilp. For rapid pigmenting 
and for obtaining an exact facsimile of the original 
bromide print some European bromoilists use a roller 
instead of brushes. With the roller very little local 
control is possible. The bromoil roller resembles the 
familiar roller squeegee but is larger in diameter. It 
consists of a wooden core or spool 2 inches in length 
and ^ of an inch in diameter, overlaid with soft rubber 
about of an inch in thickness and provided with an 
outer covering of thick, soft plush to form the inking 
surface. 

The special brushes, inks and other imported ma¬ 
terials needed for bromoil and oil printing can be 
obtained from the larger dealers in photographic 
materials. 



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T HE STANDARD PREPARATION FOR ALL PHOTOGRAPHIC USES 

JOHNSTON’S 



Introduced January 1st, 1915 

IT WRITES WHITE 

Because it is a standard white ink 

IT PRINTS WHITE 

Because it is a very opaque fluid 


5 ounce 25 cents 

Will not freeze, 
powder from work, 
go bad with de¬ 
cay, nor change 
color when fairly 
protected by user. 


On Sale 
At Better 
Photo Supply 
Dealers 
Generally 



or Direct 
from Manu¬ 
facturer by 
Mail Order 
Deliveries 



* ounce 25 cents 


For Negatives, 
Films, Prints 
Mounts and Photo 
Albums. With 
Pens, Brushes or 
Air Brushes. 


Beware of various imitations now on the market. 


J. W. JOHNSTON 



New Arts Bldg. 

(Please mention this Publication) 


Rochester, N. Y. 




IK - 






THE PRINT 

will be much better if 

THE NEGATIVE 

has the quality obtainable with 

THE LENS 

of distinctively superior performance 

Wollensak Lenses 

have been making good pictures 
for over two decades. Write for 
descriptive catalog. 

WOLLENSAK OPTICAL CO. ROCHESTER, N. Y. 

































THE LARGEST 

AND MOST COMPREHENSIVE 

CATALOGUE 

EVER OFFERED TO 

CAMERA ENTHUSIASTS 

Your copy is ready. Send in your name and address, right 
now, while you have this notice before you. 

CAMERAS —KODAKS —LENSES AND SUPPLIES 

of every description are listed in this catalogue, at the very 
lowest possible prices. 

EVERY ITEM GUARANTEED 

Besides, you have the privilege of testing what you purchase, 
10 days. After which time, if unsatisfactory, you can return 
and we will refund in full. 

WE HAVE HUNDREDS OF 

unsolicited testimonials from customers who are pleased with 
our service as well as merchandise. We can do likewise for you. 

WE BUY OR TRADE OUTFITS 

Perhaps you have one you wish to trade or sell. Send in a 
complete description of it, and we will make you the very best 
offer in cash or trade. 

ASK FOR OUR SPECIAL BOOK 

of used BARGAINS. Issued free on request. 

Central Camera Company 

Dept . A-10. 124 S. Wabash Avenue , Chicago , III . 





Practical Photography 

T HE aim of the Editors of Practical Photography in publishing the series 
is to give in each volume the practical information needed to master a 
definite branch of photographic work. Useless impractical theories are 
not included, the whole purport of th<_ series being to give up-to-date, usable 
information that will be immediately helpful in the field or workroom. Illus¬ 
trations are used wherever necessary to make the text entirely clear but not solely 
because of their artistic value. Whether in paper or cloth binding, the size will 
be uniform — handily fitting the pocket. In paper, per copy, 50 cents, or $5.00 
by subscription for twelve numbers. 

No. 1. The Secret of Exposure. If exposure is correct, all other steps in 
the making of a good negatives are purely mechanical. This number discusses 
exposure thoroughly and gives a complete system, with full directions, for ob¬ 
taining correct exposure under all conditions, using any plate or film on the 
American market. 

No. 2. Beginners’ Troubles. This number contains an enormous amount 
of practical help for every worker, novice, or expert. Its primary purpose is to 
show the cause of common failures, but in general it is a manual of photographic 
work dealing with the production of a perfect negative and a print from it. 

No. 3. How to Choose and Use a Lens. Every successful worker must 
know what his lens can do and how it may be used to best advantage. This 
number explains the particular qualities of each type of lens now used in photo¬ 
graphy and deals particularly with the more modern types, their differences and 
relative advantages. 

No. 4. How to Make Prints In Colors. The desirability of making prints 
in colors led to the publishing of this number, a careful choice of the best methods 
being made for the guidance of our readers. The toning of a standard black and 
white print to every possible hue is explained, while the special manipulating 
processes and the latest developments in natural color photography are clearly 
described. 

No. 5. How to Make Enlargements. No worker who advances beyond 
the plane of the tyro can produce consistently satisfying results without an 
enlarger. This volume tells the why of the enlarging process, and follows it with 
full and clear information regarding the practical side of enlarging, including 
the construction and use of different types of enlargers. 

No. 6. How to Make Portraits. Making portraits in the home is a branch 
of photography of interest to every owner of a camera. This volume tells in 
detail how to make portraits of your family and friends which will be more 
satisfactory to you than the conventional portrait made in a studio. You need 
no other source of information than this book to make portraits of any size by 
contact or enlarging methods. 

No. 7. How to Make Lantern Slides. An exhibit of slides from your own 
negatives is a treat for your family and friends. In this volume the subject of 
slide making is thoroughly covered. Slides in black and white, toned, or in 
natural colors can be made by any camera user. A copy of this book will tell 
you how to make them. 

No. 8 . The Elements of Photography. An elementary manual for the 
beginner, giving a concise but thorough description of the fundamentals of 
photography with film and plate cameras. 

No. 9. Practical Retouching. A thoroughly illustrated elementary treatise 
on retouching, telling all that the average amateur or young professional 
needs to know about this art. Combines the experience of several experts. 

The books of this series may be had from dealers in photographic 
supplies, news stands, booksellers, or the publishers. 

American Photographic Publishing Co. 

428 NEWBURY STREET BOSTON 17, MASS. 






CELLOFIX K? NING 


(IN SIX COLORS) 

A new printing out self-toning paper on imported stock. Rich 
tones — wonderful selection of colors and surfaces. Tones in salt 
and hypo. Permanent results. Made in the following grades: 

White Matt Rough, Cream Matt Rough, White Matt , White Glossy, 
Cream Matt Smooth, Cream Fabric, Matt Art Tinted Orange, Cream, 
Blue, Green, Assorted (4 colors ). 


Sizes 

2KxSX . 

2^x4M . 

Dozen 

. $ .15 ... 

.20 . . . 

Half Gross 

Gross 

. . $1.40 
1 70 

3)4 x 4)4 . 

.25 ... 


2 25 

4 ' x 5' ‘ . 

.30 ... 


3 00 

3)4 x 5)4 . 

.30 ... 


3.00 

4 x 6 . 

.40 .. . 


3 50 

5 x 7 . 

.55 ... 

. . . . $2.80 . 

5.50 

6)4 x 8)4 . 

.90 ... 

. ’4.25 . 

8.00 

8 “x 10'. 

. 1.25 . . . 

. 5.90_ 

. 11.25 

Postals. 



. . .30 

il 


.... “ 100 

2.25 

n 


.... “ 500 . . . 

. . 10.00 


Bromide Paper — An enlarging paper with contact quality, pro¬ 
ducing rich velvety shadows with fine gradation up to the highlights. 
A wide range of surfaces to select from. In single and double weights. 

Sidi Paper — A developing-out paper that will meet all require¬ 
ments of the amateur finisher and commercial photographer. It 
possesses fine gradation, extreme latitude, brilliancy, uniformity in 
speed, and has unsurpassed lasting qualities. Supplied in two de¬ 
grees of contrast. A surface to meet all needs. 

Proof Paper — Nothing the market affords compares with this 
Proof Paper. Write for price list. 

Autotype Carbon Tissues 

In order to combat the erroneous notion, somewhat prevalent 
amongst Amateur Photographers, that a trial of the Carbon Pro¬ 
cess necessarily entails the expenditure of a considerable sum on 
costly apparatus, the Autotype Company have decided to introduce 
cheap trial sets of the absolutely essential materials, particulars of 
which are appended. 


PRICES OF 
TRIAL SETS 


Outfit No. 1. 

Outfit Complete for 5x7. 
Outfit Complete for 8 x 10 


$3.00 Postpaid 
8.00 

11.50 “ 


American Agents GEORGE MURPHY, IllC. 

Developing, Printing, Copying, Enlarging, 57 E 9th Street, NEW YORK 
Slides 

Everything Photographic 


































Your Success In 

PHOTOGRAPHY 


E VERY reader of this volume is seriously interested in the 
success of his photographic efforts. Of this we feel assured — 
otherwise he would not have purchased this book to secure 
information that brings successful results. Information! That is 
the secret of good results — backed by experience. Information 
must be up-to-date, authentic, and to be valuable the useless facts 
must be weeded out from the practical “meaty” matter, and the net 
result presented to the reader. This is what the Editors are doing, 
not only in this series of books, but in our monthly magazine AMERI¬ 
CAN PHOTOGRAPHY as well. For more than thirty years this 
magazine has served the American photographic public, and en¬ 
deavored to be all that its name implies — the standard American 
photographic magazine. It covers the whole field of photography, 
for amateur, professional and commercial workers, publishing each 
month forceful articles on the best current practice and latest ad¬ 
vances in each of these classifications. The departments includes 
two monthly Competitions, with criticism of pictures; “The Photo¬ 
graphic Review,” abstracting important articles from the world’s 
photographic press, “Practical Hints,” “Readers’ Criticisms,” 
“Questions and Answers,” “The Intensifier,” “Exchange List,” 
for the exchange of prints; “Readers’ Forum,” for the general 
correspondence of readers; “The Market Place,” listing the most re¬ 
cent information as to firms buying pictures; “Notes and News” of 
clubs, books and exhibitions. In short, we publish a readers’ 
magazine, and in addition place our Editorial Staff at the service of 
our friends, to help them with perplexing problems. This means 
you! 

Does a magazine published along such lines meet your ideas of 
good service? We think it does, for we try to put ourselves in our 
readers’ positions when we consider a change in the makeup of the 
magazine. Join our steadily increasing circle of readers and friends. 
The subscription price is but $2.50 per year, including personal ed¬ 
itorial help when you need it. Send your subscription today and 
look forward to twelve numbers of the best photographic literature 
that you have ever read. 


American Photographic Publishing Co. 

428 Newbury Street Boston 17, Mass. 











To secure the best possible nega¬ 
tives, and hence the best prints, 
have your camera equipped 
with a 


The Better the Negative 
The Better the Print 


BAUSCH & LOMB 
PHOTOGRAPHIC LENS 


m HERE is a Bausch & Lomb lens for every photo- 
laroj graphic requirement. Tessar Ic for extreme speed. 

Tessar lib for speed combined with compactness. 
Protar Vila, the universal anastigmat. Pro tars IV and 
V for wide angle work. And the Plastigmat for impres¬ 
sionistic photography. 

The Tessar lib is also very desirable for enlarging 
and copying. 


Write for the booklet, “What Lens Shall I Buy?’’ 
It describes these lenses in detail. 


BAUSCH & LOMB OPTICAL COMPANY 

689 St. Paul Street, Rochester, N. Y. 

New York Washington Chicago San Francisco London 


Leading A merican Makers of Photographic Lenses, Stereo-Prism Pnnoculars, Tele¬ 
scopes, Projection Apparatus (Balopticons), Microscopes, Ophthalmic Lenses 
and Instruments, Magnifiers, Automobile Lenses, and Other 
, ' High-Grade Optical Products. 









Books on Photography 


Optics for Photographers, by Hans Harting, Ph.D. Translated 
by Frank R. Fraprie, S. M., F. R. P. S. 232 pages. Cloth, $2.50. 

Chemistry for Photographers, by William R. Flint. 2nd edition. 
218 pages. Cloth, $2.50. 

Pictorial Composition in Photography, by Arthur Hammond. 
234 pages, 49 illustrations. Cloth, $3.50. 

Photo-Engraving Primer, by Stephen H. Horgan. Cloth, $1.50. 

Cash from Your Camera. Edited by Frank R. Fraprie, S. M., 
F. R. P. S. Paper, $1.00. 

Pictorial Landscape Photography, by the Photo Pictorialists of 
Buffalo. 252 pages, 55 illustrations. Cloth, $3.50. 

Photographic Amusements, by Walter E. Woodbury. 9th edition. 
128 pages, 100 illustrations. Cloth, $1.50. 

Practical Color Photography, by E. J. Wall, F. C. S., F. R. P. S. 
Cloth, $3.00. 


ENGLISH IMPORTATIONS 

Photography Made Easy, as Easy as A B C, by R. Child Bayley. 
264 pages. Paper, $1.50. 

The Barnet Book of Photography. Cloth, $2.00. 

Art of Retouching Negatives and Practical Directions for Finish¬ 
ing and Coloring Photographic Enlargements, by Robert Johnson, 
T. S. Bruce and Alfred Braithwaite. Boards, $2.50. 

The Dictionary of Photography by E. J. Wall and F. J. Mortimer. 
Cloth, $5.00. 

Hieroglyphic or Greek Method of Life Drawing, by A. A. Braun. 
Boards, $7.50. 

The Child in Art and Nature, by A. A. Braun. Cloth, $10.00. 
Photograms of the Year 1922. Paper, $2.50. Cloth, $3.50. 
Penrose’s Pictorial Annual, 1923. $4.00 

Descriptive list on request. 


Published or Imported by 

American Photographic Publishing Co. 

428 Newbury St., Boston 17, Massachusetts • 












The Popular LUMAR Binocular 

At the Lowest Price Ever Offered 



An “All-Around” Glass. Eight Power, Neat Appearance, Sturdy 
Construction, Aluminum Body, Light Weight. 

A Binocular of Proven Optical Efficiency, Wide Field, Large 
Objectives, Intense Luminosity, Keenest Definition. 
“LUMAR” BINOCULAR.Price $16.50 

8-Power—27 M.M. Objective—With leather carrying case. 

25 De Luxe Special 9 x 12 cm. Precision 

Made Hand Cameras 

A most popular outfit with the press photographer as well as the 
amateur. The camera is fitted with the celebrated Plaubel F :4.2 
Anastigmat Lens and Compur Shutter, six metal plate holders and 


film pack adapter with each outfit, regular price $100.00. 

Our Price, $70.00 

Natural Ruby and Orange Electric Bulbs, each. $0.75 

Natural Ruby and Orange Electric Globes which accommo¬ 
date all size electric light bulbs up to 60 watt, each. $1.25 


The above space is too small to list hundreds of special bargains which we 
have to offer. We are direct importers of cameras, lenses, binoculars and 
other photographic accessories and can save considerable to the purchaser. 

Send for our Special Bargain List No. 25 

NEW YORK CAMERA EXCHANGE 

109 Fulton Street New York, N. Y. 










ABE COHEN’S EXCHANGE, 113 PARK ROW, N. Y. 

Pointers for the 
Amateur Photographer 

The Camera 

Select your camera or lens from our ample stocks 
of Kodaks, Graflex, Ansco, lea and Goerz Cameras. 
The world’s best makes of lenses always in stock, 
Carl Zeiss, Goerz, Bausch & Lomb, Voigtlander, 
Dallmeyer and other makes; Soft focus and Por¬ 
trait lenses. 

Exposure 

Complete line of Exposure Meters, Color Filters, 
Portrait Attachments, Diffusing Disks, Flash Guns 
and Flash Outfits. 

Developing, Printing and Enlarging 

Let us furnish all you require in roll film and plate 
tanks, Developing and Fixing Chemicals, Dark 
Room Lamps, Automatic Printers, Trays, Print¬ 
ing Frames, Photographic Papers, Enlarging Cam¬ 
eras, Condensing Lenses, Parallax Reflectors. 

Pictorial Photography 

We have everything for the Pictorial worker, in 
Bromoil, Carbro, Kallitype and other processes, 
including all Enlarging Papers, bleachers, chemicals, 
transfer papers, bromoil brushes, inks, and other 
accessories. 

Write and tell us your wants 

Abe Cohen's Exchange 

113 Park Row, New York 







The projected print on 

EASTMAN 

PORTRAIT 

BROMIDE 

Retains the contact print quality— 
duplicates the contact print tone. 

Warm black prints by straight devel¬ 
opment—rich sepias by re-develop¬ 
ment . 

Colors—White and Surfaces—Rough Matte 

Buff Stocks and Rough Lustre 


EASTMAN KODAK COMPANY 

ROCHESTER, N. Y. 

All Dealers' 





Slide the camera up and the 
image grows, down and it 
shrinks, but the focus is 
automatically kept sharp— 
no bellows to rack, no fur¬ 
ther adjustments to make. 

Easily adjusted holders 
keep the paper flat—no 
thumb tacks , no slipping. 


Kodak Auto Focus Enlarger 

This new apparatus for amateurs takes the effort out of 
enlarging. 

It accommodates either plate or film negatives up to 4 x 6 
inches and makes prints on Bromide Paper up to 14 x 21 
inches. Complete with Kodak Anastigmat Lens, negative 
holder, paper holder, set of flexible metal masks in six sizes 
and electric cord and plug, but without the 60-watt Mazda 
lamp required for illumination. 

Kodak Auto-Focus Enlarger (Including Excise Tax) $ 35.00 
Diffusing Disc for soft focus effects .... . 1.00 

EASTMAN KODAK COMPANY 

ROCHESTER, N. Y. 

At your Kodak dealer s 







It lasts longer, goes further, pro- 
du ces prints of greater brilliancy 
and quality. 


ELON 


Wz make it—we know it's right 


EASTMAN KODAK COMPANY 

ROCHESTER, N. Y. 

All Dealers' 






The green of the scene is in 
the tint of the print on 


KODAK 



PAPER 


Print your outdoor negatives—land¬ 
scapes and seascapes—on this paper. 
Its rich, soft, green tone gives pictures 
the appearance of nature herself. 

Kodak Velvet Green is as easy to use 
as Velox, but prints by daylight. 


EASTMAN KODAK COMPANY 

ROCHESTER, N. Y., The Kodak City 
At your Dealers' 









The New Paper for 

Distinctive Photography 

Vitava Athena, Old Master surface, 
puts freshness and character as well as 
a distinctive individuality into the 
highest quality of portraiture or pic¬ 
torial work. 


Vitava Athena —Double Weight 

M White—O Buff—Old Master Surface 

Vitava Etching Brown —Double Weight 

B White Smooth D White Rough 

K Buff Smooth H Buff Rough 

Vitava Athena —Single Weight 

F 2 White—F 3 White—Glossy Surface 


EASTMAN KODAK COMPANY 

ROCHESTER, N. Y. 


All Dealers’ 

















LltSKHKY Uh LUI'RjKtbb 


Contrast Velox for extremely flat neg¬ 
atives. 


Regular Velox for flat negatives. 

Special Velox for average and con¬ 
trasty negatives. 

All Velox is now non-abrasion — 
an additional safeguard for Velox quality 


EASTMAN KODAK COMPANY 

ROCHESTER, N Y., The Kodak City 
At all dealers' 







































































